Speaking of soundtracks and foreign languages, I got OBSESSED with Seu Jorge's David Bowie covers from the Wes Anderson movie, the Life Aquatic With Steve Zissou. Soundtracks are a weakness of mine and have been a gateway drug to a number of artists.
Just rewatched Alien last night and I was really struck by how incredibly *quiet* most of the movie is, so that fragile soundtrack really hits when it's used. It's so fucking potent. And Goldsmith's work on The Omen saved the film, its director and everyone involved – there's a brilliant story of the studio seeing the early cut of the movie and everyone thinking "Oh fuck, this is a disaster." I mean, think o fthat movie WITHOUT the music; a still shot of a dog doing nothing? A little boy in a hat? Put the music over the top and everything has weight. It's one of the best examples of a score elevating a movie in history, I think.
Speaking of which, the ever-so-average movie Red Dragon has a truly terrific score, really stood out among the ho-hum.
And finally... Journalist Hadley Freeman did a wonderful short podcast series on John Hughes films, and her co-host was Hughes' music advisor for some of his best-known films. It's really illuminating as to how song choices come about for films, and the soundtracks of Hughes films in particular are the soundtracks of the entire teens of some of us.
Clumsy, long winded route to me saying, 'yeah, totes.'
Thanks Jon, the Alien soundtrack is surprisingly spare, but highly impactful. There's a difficult line to walk with music accompanying films... too much and it crassly over emphasises every emotion. Silence at the right moment can be just as effective. And yes, great scores can elevate a mediocre film. It's an underrated aspect of filmmaking and at its best is a creative partnership between directors and composers. Audio/sound is a highly important element of filmmaking. Viva soundtracks!
Score for Vertigo is to me the greatest ever. I'm also a huge Glass fan. Met him in Santa Fe, introduced by my wife, composer Elodie Lauten, as they knew each other. The Hours score is beautiful. My fave of his is Mishima. The score for The Third Man by my namesake Anton Karas also stands out
The Vertigo soundtrack is one of the best of all time, and how cool that you met Glass! Yes, The Third Man film and music is top notch.
Thanks for pointing me to the work of Elodie, I will seek out her music. I'm sorry for your loss. Looking at her biography, I'm impressed with her hugely creative life.
Well said
Thanks!
You're welcome always God bless you and your family forever
Speaking of soundtracks and foreign languages, I got OBSESSED with Seu Jorge's David Bowie covers from the Wes Anderson movie, the Life Aquatic With Steve Zissou. Soundtracks are a weakness of mine and have been a gateway drug to a number of artists.
That's the best kind of drug!
Just rewatched Alien last night and I was really struck by how incredibly *quiet* most of the movie is, so that fragile soundtrack really hits when it's used. It's so fucking potent. And Goldsmith's work on The Omen saved the film, its director and everyone involved – there's a brilliant story of the studio seeing the early cut of the movie and everyone thinking "Oh fuck, this is a disaster." I mean, think o fthat movie WITHOUT the music; a still shot of a dog doing nothing? A little boy in a hat? Put the music over the top and everything has weight. It's one of the best examples of a score elevating a movie in history, I think.
Speaking of which, the ever-so-average movie Red Dragon has a truly terrific score, really stood out among the ho-hum.
And finally... Journalist Hadley Freeman did a wonderful short podcast series on John Hughes films, and her co-host was Hughes' music advisor for some of his best-known films. It's really illuminating as to how song choices come about for films, and the soundtracks of Hughes films in particular are the soundtracks of the entire teens of some of us.
Clumsy, long winded route to me saying, 'yeah, totes.'
Thanks Jon, the Alien soundtrack is surprisingly spare, but highly impactful. There's a difficult line to walk with music accompanying films... too much and it crassly over emphasises every emotion. Silence at the right moment can be just as effective. And yes, great scores can elevate a mediocre film. It's an underrated aspect of filmmaking and at its best is a creative partnership between directors and composers. Audio/sound is a highly important element of filmmaking. Viva soundtracks!
Score for Vertigo is to me the greatest ever. I'm also a huge Glass fan. Met him in Santa Fe, introduced by my wife, composer Elodie Lauten, as they knew each other. The Hours score is beautiful. My fave of his is Mishima. The score for The Third Man by my namesake Anton Karas also stands out
The Vertigo soundtrack is one of the best of all time, and how cool that you met Glass! Yes, The Third Man film and music is top notch.
Thanks for pointing me to the work of Elodie, I will seek out her music. I'm sorry for your loss. Looking at her biography, I'm impressed with her hugely creative life.